{"title":"A State of Secrecy: Stasi Informers and the Culture of Surveillance by Alison Lewis (review)","authors":"Melissa Sheedy","doi":"10.1353/gsr.2022.0069","DOIUrl":"https://doi.org/10.1353/gsr.2022.0069","url":null,"abstract":"","PeriodicalId":43954,"journal":{"name":"German Studies Review","volume":"45 1","pages":"594 - 596"},"PeriodicalIF":0.2,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46227158","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
principle of becoming, which valued imitation of the creative process as viewed in nature over imitation of a completed artwork (natura naturans rather than natura naturata as Arne Zerbst underscores). The romantics looked at here considered art a process relying on relayed communication between author and audience, ultimately consummated by the viewer. Likewise, the editors encourage viewing this volume as a springboard for interdisciplinary research to be taken up by its readers. Paulina Choh, Stanford University
{"title":"The Problem of the Actress in Modern German Theater and Thought by S. E. Jackson (review)","authors":"Ellwood H. Wiggins","doi":"10.1353/gsr.2022.0062","DOIUrl":"https://doi.org/10.1353/gsr.2022.0062","url":null,"abstract":"principle of becoming, which valued imitation of the creative process as viewed in nature over imitation of a completed artwork (natura naturans rather than natura naturata as Arne Zerbst underscores). The romantics looked at here considered art a process relying on relayed communication between author and audience, ultimately consummated by the viewer. Likewise, the editors encourage viewing this volume as a springboard for interdisciplinary research to be taken up by its readers. Paulina Choh, Stanford University","PeriodicalId":43954,"journal":{"name":"German Studies Review","volume":"45 1","pages":"579 - 581"},"PeriodicalIF":0.2,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66417023","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
abstract:This article explores the nature of Nazi-Soviet cultural exchange during the Molotov-Ribbentrop détente (1939–1941) by comparing the reception histories of two artistic undertakings: the Berlin State Opera's performance of Mikhail Glinka's A Life for the Tsar and the Bolshoi Theater's performance of Richard Wagner's The Valkyrie. Though subject to political controls, such dialogue should not be regarded as a puppet show whose sole purpose was to provide ornament for the August 23 rapprochement. Instead, it ought to be approached as a complex effort to navigate a warming of relations by actors who did not have foreknowledge of Operation Barbarossa.
{"title":"Wagner in Moscow, Glinka in Berlin: An Exchange of Operas during the Molotov-Ribbentrop Years","authors":"Philip Decker","doi":"10.1353/gsr.2022.0046","DOIUrl":"https://doi.org/10.1353/gsr.2022.0046","url":null,"abstract":"abstract:This article explores the nature of Nazi-Soviet cultural exchange during the Molotov-Ribbentrop détente (1939–1941) by comparing the reception histories of two artistic undertakings: the Berlin State Opera's performance of Mikhail Glinka's A Life for the Tsar and the Bolshoi Theater's performance of Richard Wagner's The Valkyrie. Though subject to political controls, such dialogue should not be regarded as a puppet show whose sole purpose was to provide ornament for the August 23 rapprochement. Instead, it ought to be approached as a complex effort to navigate a warming of relations by actors who did not have foreknowledge of Operation Barbarossa.","PeriodicalId":43954,"journal":{"name":"German Studies Review","volume":"45 1","pages":"429 - 453"},"PeriodicalIF":0.2,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48869496","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
he states that “Adorno holds that art-music even at its most avant-garde reflects the sundered nature of modern society” (88, emphasis added), this is missing Adorno’s crucial rejection of any reflection theory of art (as in Lenin’s or Lukács’ more orthodox Marxism). Terry Pritchard’s chapter skims superficially over Adorno’s relation to Hegel, while never mentioning Drei Studien zu Hegel, nor engaging with the considerable body of work on this topic in German. Adorno’s relation to Heidegger is more complicated than Pritchard’s chapter allows. Michael Gallope sets up a completely unwarranted opposition between what he thinks are two types of Adornian music writing, one more precise, and the other supposedly merely loosely metaphorical or “ineffable” (the musicologist will think of Vladimir Jankélévich here). Gallope’s opposition is, however, undermined by the fact that the works he wants to adduce as somehow deliberately imprecise, like the Mahler monograph, include more detailed score analyses and technical discussion than the Philosophy of New Music. These are unfortunate flaws in a book that aims to be, and will no doubt be treated as, a standard reference work. In Negative Dialektik Adorno noted philosophy’s dependence on culture, a major difference remaining between Continental and analytic traditions. It is the job of a handbook to try to bridge these cultural differences, as most of its authors well succeed in doing; a few, however, still inadvertently demonstrate that Adorno remains hard to digest for non-German speakers. Larson Powell, University of Missouri – Kansas City
他指出，“阿多诺认为艺术音乐即使在最前卫的时候也反映了现代社会的分裂本质”（88，重点补充），这与阿多诺对任何艺术反思理论的关键拒绝（如列宁或卢卡奇更正统的马克思主义）不符。特里·普里查德（Terry Pritchard）的这一章肤浅地回避了阿多诺与黑格尔的关系，而从未提及德雷·斯图迪恩·祖·黑格尔（Drei Studien zu Hegel），也没有用德语参与这一主题的大量工作。阿多诺与海德格尔的关系比普里查德的章节所允许的更为复杂。迈克尔·加洛佩（Michael Gallope）在他认为的两种类型的阿多诺音乐创作之间建立了一种完全没有根据的对立，一种更精确，另一种则被认为只是松散的隐喻或“无法形容”（音乐学家会在这里想到弗拉基米尔·詹凯莱维奇）。然而，加洛佩的反对意见受到了以下事实的破坏：他想引用的作品，如马勒的专著，在某种程度上故意不精确，包括比《新音乐哲学》更详细的乐谱分析和技术讨论。这些都是一本书中的不幸缺陷，这本书的目标是，而且毫无疑问，它将被视为一本标准的参考书。阿多诺在《否定的迪亚莱克提克》一书中指出哲学对文化的依赖，这是大陆传统和分析传统之间的一个主要区别。手册的工作是试图弥合这些文化差异，正如大多数作者所做的那样；然而，一些人仍然无意中证明，对于非德语使用者来说，阿多诺仍然难以消化。Larson Powell，密苏里大学堪萨斯城分校
{"title":"Friendship without Borders: Women's Stories of Power, Politics, and Everyday Life across East and West Germany by Phil Leask (review)","authors":"Kara L. Ritzheimer","doi":"10.1353/gsr.2022.0056","DOIUrl":"https://doi.org/10.1353/gsr.2022.0056","url":null,"abstract":"he states that “Adorno holds that art-music even at its most avant-garde reflects the sundered nature of modern society” (88, emphasis added), this is missing Adorno’s crucial rejection of any reflection theory of art (as in Lenin’s or Lukács’ more orthodox Marxism). Terry Pritchard’s chapter skims superficially over Adorno’s relation to Hegel, while never mentioning Drei Studien zu Hegel, nor engaging with the considerable body of work on this topic in German. Adorno’s relation to Heidegger is more complicated than Pritchard’s chapter allows. Michael Gallope sets up a completely unwarranted opposition between what he thinks are two types of Adornian music writing, one more precise, and the other supposedly merely loosely metaphorical or “ineffable” (the musicologist will think of Vladimir Jankélévich here). Gallope’s opposition is, however, undermined by the fact that the works he wants to adduce as somehow deliberately imprecise, like the Mahler monograph, include more detailed score analyses and technical discussion than the Philosophy of New Music. These are unfortunate flaws in a book that aims to be, and will no doubt be treated as, a standard reference work. In Negative Dialektik Adorno noted philosophy’s dependence on culture, a major difference remaining between Continental and analytic traditions. It is the job of a handbook to try to bridge these cultural differences, as most of its authors well succeed in doing; a few, however, still inadvertently demonstrate that Adorno remains hard to digest for non-German speakers. Larson Powell, University of Missouri – Kansas City","PeriodicalId":43954,"journal":{"name":"German Studies Review","volume":"45 1","pages":"600 - 602"},"PeriodicalIF":0.2,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44952968","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
abstract:In this article, I analyze Theatre African's tour of East Germany. This Francebased group of performers from French colonies in Africa, led by the Guinean poet and writer Keita Fodeba, was one of the earliest anticolonial artistic groups to visit East Germany, and their tour represented the country's early efforts to create social links with the Global South.
{"title":"Encountering the Global South: Theatre Africain's Tour of East Germany, 1951–1952","authors":"Alan Maričić","doi":"10.1353/gsr.2022.0048","DOIUrl":"https://doi.org/10.1353/gsr.2022.0048","url":null,"abstract":"abstract:In this article, I analyze Theatre African's tour of East Germany. This Francebased group of performers from French colonies in Africa, led by the Guinean poet and writer Keita Fodeba, was one of the earliest anticolonial artistic groups to visit East Germany, and their tour represented the country's early efforts to create social links with the Global South.","PeriodicalId":43954,"journal":{"name":"German Studies Review","volume":"45 1","pages":"477 - 494"},"PeriodicalIF":0.2,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41750150","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
ories of modern dance. As Christian argues, space for Laban is “an active receptacle for bodily movements that extend dancers beyond their physical bounds” (112), and as such, Laban sought to put into dance practice “the idea of spatial form (Umraumform)” (113). Inspired by artist and theorist Wassily Kandinsky, Kabbalah, and the occult, Laban’s text The World of the Dancer is filled with references to dynamized air, such as “magnetic and other currents,” “air waves,” and “the play of atoms” (119). The Coda brings together threads throughout the book and concludes by suggesting how the book’s theories serve as precursors to what would become central to theories of modern art in the twentieth century. Objects in Air is a book deserving of praise. Christian brings tremendous nuance to her analysis of the texts at hand. With careful and thoughtful attention to specific concepts and relationships between concepts, Christian presents complex arguments and analyses clearly. Throughout, Christian offers innovative interpretations and creative connections, and the organization of each chapter helps her compelling analyses to shine through. I, for one, welcome Christian’s significant attention to dance for consideration of choreography as artwork and for dance’s clear relevance to theories of space. Objects in Air is an innovatively argued, thoroughly researched, and eloquently written book, and is highly recommended for graduate students, faculty, and independent scholars in German studies, literary studies, art history, and dance studies. Susan Funkenstein, University of Michigan
{"title":"Weimars Wirkung. Das Nachleben der ersten deutschen Republik ed. by Hanno Hochmuth, Martin Sabrow, and Tilmann Siebenreichner (review)","authors":"Jonathan Wipplinger","doi":"10.1353/gsr.2022.0064","DOIUrl":"https://doi.org/10.1353/gsr.2022.0064","url":null,"abstract":"ories of modern dance. As Christian argues, space for Laban is “an active receptacle for bodily movements that extend dancers beyond their physical bounds” (112), and as such, Laban sought to put into dance practice “the idea of spatial form (Umraumform)” (113). Inspired by artist and theorist Wassily Kandinsky, Kabbalah, and the occult, Laban’s text The World of the Dancer is filled with references to dynamized air, such as “magnetic and other currents,” “air waves,” and “the play of atoms” (119). The Coda brings together threads throughout the book and concludes by suggesting how the book’s theories serve as precursors to what would become central to theories of modern art in the twentieth century. Objects in Air is a book deserving of praise. Christian brings tremendous nuance to her analysis of the texts at hand. With careful and thoughtful attention to specific concepts and relationships between concepts, Christian presents complex arguments and analyses clearly. Throughout, Christian offers innovative interpretations and creative connections, and the organization of each chapter helps her compelling analyses to shine through. I, for one, welcome Christian’s significant attention to dance for consideration of choreography as artwork and for dance’s clear relevance to theories of space. Objects in Air is an innovatively argued, thoroughly researched, and eloquently written book, and is highly recommended for graduate students, faculty, and independent scholars in German studies, literary studies, art history, and dance studies. Susan Funkenstein, University of Michigan","PeriodicalId":43954,"journal":{"name":"German Studies Review","volume":"45 1","pages":"583 - 585"},"PeriodicalIF":0.2,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42732657","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
abstract:The article investigates the solidarity between minority groups as a catalyst of literary capital. Tomer Gardi's novel Broken German (2016) was viewed enthusiastically by literary critics as a bold political statement, since it entertains that immigrants may hold an affinity towards each other based on their exclusion from German culture. However, the novel also alerts us to the hierarchical consideration of immigrants in Germany, complicating the parallel between minority groups that diverge from each other starkly on economic terms. The novel thus forestalls the debates sparked by its publication, which approached its disjointed language as a gimmick and questioned its literary quality.
{"title":"Politics and Literary Capital in Tomer Gardi's Broken German","authors":"Y. Almog","doi":"10.1353/gsr.2022.0052","DOIUrl":"https://doi.org/10.1353/gsr.2022.0052","url":null,"abstract":"abstract:The article investigates the solidarity between minority groups as a catalyst of literary capital. Tomer Gardi's novel Broken German (2016) was viewed enthusiastically by literary critics as a bold political statement, since it entertains that immigrants may hold an affinity towards each other based on their exclusion from German culture. However, the novel also alerts us to the hierarchical consideration of immigrants in Germany, complicating the parallel between minority groups that diverge from each other starkly on economic terms. The novel thus forestalls the debates sparked by its publication, which approached its disjointed language as a gimmick and questioned its literary quality.","PeriodicalId":43954,"journal":{"name":"German Studies Review","volume":"45 1","pages":"557 - 576"},"PeriodicalIF":0.2,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48667436","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
United States and their propagandistic use of these imageries for the fight against racism in the United States and its war in Vietnam as well as the dominance of former Nazis in the West German state apparatus. Some readers may bemoan that the book focuses on judicial and political aspects of the trial and has not much to say about the trial’s afterlife in mass media and popular culture. Yet, by offering multifaceted views on the former aspects, the volume does an excellent job in summarizing an ever more complex subject of Holocaust studies. Thomas Kühne, Clark University
{"title":"A Companion to Adorno ed. by Peter Gordon, Espen Hammer, and Max Pensky (review)","authors":"Larson Powell","doi":"10.1353/gsr.2022.0055","DOIUrl":"https://doi.org/10.1353/gsr.2022.0055","url":null,"abstract":"United States and their propagandistic use of these imageries for the fight against racism in the United States and its war in Vietnam as well as the dominance of former Nazis in the West German state apparatus. Some readers may bemoan that the book focuses on judicial and political aspects of the trial and has not much to say about the trial’s afterlife in mass media and popular culture. Yet, by offering multifaceted views on the former aspects, the volume does an excellent job in summarizing an ever more complex subject of Holocaust studies. Thomas Kühne, Clark University","PeriodicalId":43954,"journal":{"name":"German Studies Review","volume":"45 1","pages":"598 - 600"},"PeriodicalIF":0.2,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46569735","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Das Bild der Natur in der Romantik. Kunst als Philosophie und Wissenschaft ed. by Nina Amstutz et al. (review)","authors":"Paulina Choh","doi":"10.1353/gsr.2022.0053","DOIUrl":"https://doi.org/10.1353/gsr.2022.0053","url":null,"abstract":"","PeriodicalId":43954,"journal":{"name":"German Studies Review","volume":"45 1","pages":"577 - 579"},"PeriodicalIF":0.2,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43145689","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
or can it be expressive and emotional? Special effects let cinema express emotions through machinery. Is film idealist or materialist? Via special effects, “machine technology fulfilled the requirements of idealist aesthetics” (22). The hyphen in the word “techno-romantic” can function as a figure for Loew’s overall critical project: the excavation of hyphens in the archive that hold together seemingly contradictory ideas about the cinema. This structure of argument holds Loew, the critic herself, at a distance from the material she is studying. She never attempts to theorize herself the materialism of the cinematic apparatus, for example. Rather, she relentlessly re-locates the object of her study in the discourse network of early twentieth century Germany. This is a benefit for students of that period: at times, Special Effects and German Silent Cinema can be read like a literature review—an exhaustive survey of the key debates from the 1920’s and earlier about the cultural significance of cinematic techniques that will guide many future scholars through this period. (Particularly wonderful are several “see also” footnotes that casually rattle-off a whole spin-off article’s worth of primary and secondary literature.) If there is one downside to this approach, it is that, in the chorus of other thinkers’ voices, Loew risks marginalizing her own original contributions. Without a prominent theorizing voice arguing for one side or the other in the historical debates she rehearses, it can seem like she is failing to register a real sense of irreconcilability between materialist and idealist conceptions of film—ways in which special effects may not easily or perfectly resolve these debates; how film may still not be a perfect balance of art and technology. Nevertheless, some theory of her own becomes clear in the way she sutures her sources together: narrativizing special effects as having succeeded in establishing film as a technological art is, itself, a kind of strong theory about film, even if it emerges only implicitly. Loew’s monograph sheds light on an understudied topic within film studies, especially in comparison to other cinematic techniques: special effects. Her research makes a compelling case for the impact of special effects on debates about cinema’s value as an art form. Future scholars of this period will find this monograph invaluable, as much for the fascinating argument as for the vast repertoire of archival material that Loew offers. Sean Lambert, University of California, Berkeley
{"title":"Mahler's Forgotten Conductor: Heinz Unger and His Search for Jewish Meaning, 1895–1965 by Hernan Tesler-Mabé (review)","authors":"Karen Painter","doi":"10.1353/gsr.2022.0067","DOIUrl":"https://doi.org/10.1353/gsr.2022.0067","url":null,"abstract":"or can it be expressive and emotional? Special effects let cinema express emotions through machinery. Is film idealist or materialist? Via special effects, “machine technology fulfilled the requirements of idealist aesthetics” (22). The hyphen in the word “techno-romantic” can function as a figure for Loew’s overall critical project: the excavation of hyphens in the archive that hold together seemingly contradictory ideas about the cinema. This structure of argument holds Loew, the critic herself, at a distance from the material she is studying. She never attempts to theorize herself the materialism of the cinematic apparatus, for example. Rather, she relentlessly re-locates the object of her study in the discourse network of early twentieth century Germany. This is a benefit for students of that period: at times, Special Effects and German Silent Cinema can be read like a literature review—an exhaustive survey of the key debates from the 1920’s and earlier about the cultural significance of cinematic techniques that will guide many future scholars through this period. (Particularly wonderful are several “see also” footnotes that casually rattle-off a whole spin-off article’s worth of primary and secondary literature.) If there is one downside to this approach, it is that, in the chorus of other thinkers’ voices, Loew risks marginalizing her own original contributions. Without a prominent theorizing voice arguing for one side or the other in the historical debates she rehearses, it can seem like she is failing to register a real sense of irreconcilability between materialist and idealist conceptions of film—ways in which special effects may not easily or perfectly resolve these debates; how film may still not be a perfect balance of art and technology. Nevertheless, some theory of her own becomes clear in the way she sutures her sources together: narrativizing special effects as having succeeded in establishing film as a technological art is, itself, a kind of strong theory about film, even if it emerges only implicitly. Loew’s monograph sheds light on an understudied topic within film studies, especially in comparison to other cinematic techniques: special effects. Her research makes a compelling case for the impact of special effects on debates about cinema’s value as an art form. Future scholars of this period will find this monograph invaluable, as much for the fascinating argument as for the vast repertoire of archival material that Loew offers. Sean Lambert, University of California, Berkeley","PeriodicalId":43954,"journal":{"name":"German Studies Review","volume":"45 1","pages":"589 - 591"},"PeriodicalIF":0.2,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49536269","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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